Reader’s note: Mentions of topics such as abuse and political violence
Melanie Martinez’s new album, Hades, is both a cultural commentary and a confessional, while also delving more into alternative musicality.
Unlike her previous three albums, all of which tell the story of a character Martinez created named Crybaby, Hades is based on Martinez’s personal life and thoughts. Hades is also supposed to be part of a double-album, though the release frame and name for the second part are still unknown.
Martinez kicked off the album promotional cycle with “Possession,” an alt-pop number about being stuck in an abusive relationship. The next single, “Disney Princess,” is a softer pop-rock number with an explosive outro about how industry exploitation has caused harm within her personal life, such as drug abuse.
Many of the songs here either build on the cultural commentary or abuse themes presented in the singles. However, as made apparent by the opening track, there is also a lot of explicitly political commentary.
The album begins with “Garbage,” a song that initially starts with just birds chirping and faint chatter, interrupted by a loud explosion and screaming.
“Garbage” sets the tone for the themes of the rest of the album, with lyrics such as, “Violence ablazing, gunshots replacing/The sound of the church bells and hymns/’WhiteJesus, save me,’ you’ll scream like a baby/Your water is cheap bottled wine.”
Musically, “Garbage” is also largely orchestral, another element making this album unique in Martinez’s discography. She has always been known for her use of electronic sounds, and while that is still present in Hades, there are many more real instruments this time around, which also helps the themes feel more natural and grounded in reality.
“Garbage,” “Avoidant,” and “The Last Two People On Earth” are the best ballads in her discography, with layered instrumentals and fantastic vocal performances.
There are some moments on this album, especially “Grudges” and “The Vatican,” that utilize electronic elements in a way that feels like a poppier version of something Nine Inch Nails would have done in the early 2000s.
Meanwhile, the writing on Hades is her strongest writing yet; it is at its best when she tackles subjects she does not normally tackle.
“Gutter” is a song explicitly about how the government treats homeless people, with lyrics such as, “One by one, the houses get stolen by corporate erosion/Winters come with nowhere to hide out/Don’t sleep ’cause they’ll find out/Nobody ever thinks they’ll end up broken/’Til they’re out there frozen.”
A lyrical highlight, and surprising from a pop act, comes in “Weight Watchers,” where Martinez admits to having gotten plastic surgery and says, “And I got bigger boobs so that I could transcend it/Now all that I read is, ‘Hey, I think she’s pregnant”
Occasionally, there are awkward moments, such as the speaking parts in “Chatroom” or some of the lyrics in “The Vatican” that feel like Twitter posts rather than song lyrics.
18 tracks was also a few too many, as some songs such as “Batsh*t Intelligence” and “Hell’s Front Porch” simply reiterate themes already discussed in previous songs on the album. Some songs could have been morphed together.
Overall, it is a very strong album and a highlight in Martinez’s discography, offering fresh themes and showing she still has a strong sense of inspiration 10 years into her career.
